The first talk shows aired in the 1950s and they have determined the evening rhythm in many living rooms ever since. But the invention of the internet has definitively pushed the format into decline. In TALK SHOW, Suze Milius bids them farewell. It is both a retrospective and a look ahead into the future, an attempt to ascribe value to everything that gradually disappears, and an ode to the details of our existence.

On a stage covered with a thick layer of earth and bathed in light stand fourteen dancers – all different in age and dance background. Movements flow from one body to the next, gradually building to a wild climax. The result is a tactile experience that shares loneliness with fiction: how is it that you can be alone even when you’re in a group?

This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; a video lecture by philosopher and mathematician Jean Paul Van Bendegem; and a performative scenography as a possible landscape for a Beckett text. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.

Three performers spend three quarters of an hour turning around their own axis – a movement that in Sufi ceremonies is thought to lead to religious euphoria. In Miet Warlop’s version, it becomes an experiment on the fine line between maintaining and losing control. It is a combination of swirling dance, recital and concert. How can you find a balance between self-control and devotion?

Water Will (in Melody) is a devised choreographic work for four performers that uses melodrama as a point of departure. Wrestling with language and notions of ‘the will’, this dystopian fantasy becomes a space for negotiating desire, imagination, and feelings of an encroaching end.